Samuel Beckett's Waiting for Godot is relatable and resonating and it's language possesses gravity, intensity, and conciseness.
Two tramps are perpetually waiting by a sickly looking tree for the arrival of Godot. While waiting they discuss their lives, quarrel and then makeup, contemplate suicide, try to sleep, eat a carrot and gnaw on chicken bones.
Two other characters appear, a master named Pozzo and his slave; Lucky, who perform a grotesque scene in the middle of the play. A young boy arrives to say that Godot will not come today, but that he will come tomorrow. He does not come and the two tramps resume their vigil by the tree, which between the first and second day has sprouted a few leaves, the only symbol of a possible order in a thoroughly alienated world.
The two tramps of Beckett, in their total disposition and in their antics with hats and tight shoes, are reminiscent of Chaplin and the American burlesque comedy team, whereas Pozzo and Lucky, are half vaudeville characters and half marionettes. The purely comic aspect of the play involves traditional routines that come from the entire history of farce, from the Romans and the Italians, and the red-nosed clown of the modern circus.
The play has its own beauty and suggestiveness, and it makes its own comment on man's absurd hope and his absurd insignificance.
Design & Creative direction: Mohit Tripathi
Direction: Lakshya Goel